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Exultate Deo

Introduction

In 1941, midway between the Lenten motets and Figure humaine, Poulenc composed Exultate Deo. It responds suitably to its jubilant text, and features a rare case for Poulenc of paired, imitative entries at the outset. Those studies of Bach chorales with Koechlin set him along a predominantly chordal, homophonic path when writing for voices, but here his knowledge of music by Monteverdi, Palestrina and Gabrieli briefly shines through. This piece breezes through some unlikely keys in the middle—from its core A major, through F sharp major to C major to C sharp major. It is fluent, cheeky, listen-to-what-I-can-do writing. The motet’s climax, on the words ‘Buccinate in neomenia tuba’, features a remarkable effect with rumbling lower voices in parallel triads, and a final shriek of marcato dissonance whose echo collides with the grand, solemn coda.

Recordings

Stephen Layton and Polyphony continue to blaze a trail as great interpreters and dazzling performers of a wide range of choral music. Their recent disc of Bruckner’s Mass in E minor and motets was acclaimed as a benchmark recording. For their latest ...» More

Sing we merrily unto God our strength:
make a cheerful noise unto the God of Jacob.
Take the psalm, bring hither the tabret,
the merry harp with the lute.
Blow up the trumpet in the new moon:
even in the time appointed, and upon our solemn feast day.

Sing we merrily unto God our strength:
make a cheerful noise unto the God of Jacob.
Take the psalm, bring hither the tabret,
the merry harp with the lute.
Blow up the trumpet in the new moon:
even in the time appointed, and upon our solemn feast day.